Category: Worldwide

Kanye West’s bid for the presidency is kicking into first gear as election day looms in the near distance. But Kanye’s campaign has definitely hit some major speed bumps along the way as the rapper is currently polling at just two percent of the Black vote. It was recently reported that Kanye sought the assistance of a few Republican party members in his campaign, but now he’s gone straight to the White House. Kanye set up a private meeting with Senior Trump Advisor Jared Kushner over the weekend in Colorado.

According to a report from the New York Times, West was camping with family in Colorado and Kushner was on his way to see Ivanka Trump when the two scheduled a private meeting in the small town of Telluride. West tweeted about the meeting, saying he and Kushner discussed Dr. Claude Anderson’s popular 2001 book PowerNomics.

West also noted he’d be willing to further discuss the meeting directly with the New York Times but when the publication asked West a follow-up question, he didn’t speak about his meeting with Kushner. Instead, the rapper “expressed anger about abortion rates among Black women and said he didn’t reflexively support Democrats.”

The private meeting came after Kanye’s failed attempt to get his name on a number of ballots. The rapper’s name was recently removed from the Illinois ballot, Kanye’s home state, after the legitimacy of his petition signatures went under investigation.

Of course, if Kanye’s political aspirations don’t come to fruition, the musician could always fall back on drawing.

Between Family Guy, Ted, and A Million Ways To Die In The West, Seth MacFarlane’s “mature jokester” reputation stands firm, and one has to respect his ability to bring an audience. Oliver Stone recently groused about being trounced by a Ted movie, and though nerds probably don’t appreciate him snarking on Scott Pilgrim vs. The World, some of them have come around to rather enjoy MacFarlane’s dive into sci-fi with The Orville. That series got a little bit dramatic, and that’s where MacFarlane intends to keep moving, apparently, with news that he’s edging into the World War II game.

Hollywood Reporter details the upcoming project for NBCUniversal, which will obviously be dramatic in nature, given that MacFarlane’s The Winds of War limited series will see him adapting two historical novels from Pulitzer Prize-winning author Herman Wouk (The Winds Of War and War And Remembrance), decades after the ABC miniseries of the same name (and source material). Universal Content Productions is on the producing beat, and UCP president Dawn Olmstead issued a statement about how they’re looking forward to seeing Seth “expand his oeuvre in the next phase of his career.”

The World War II-set series will also function as a turbulent family saga, and MacFarlane sounds like he’s a fan of Olmstead as well:

“I’ve been a devoted fan of Wouk’s WWII epic for decades, and its depiction of small-scale human endurance in the face of large-scale global upheaval has never been more relevant than it is today. In my very first meeting with Dawn Olmstead, we connected over this project — I learned that she herself comes from a Naval family — and to bring it to fruition under her stewardship and that of her UCP team will be a perfect fit for all. We can’t wait to get started.”

MacFarlane will be aided in his writing efforts by Seth Fisher (The Alienist), and this will be first of MacFarlane’s several projects to come for NBCUniversal after he left what’s now known as 20th Television (following his clash with Fox over Tucker Carlson’s antics on Fox News). The Winds Of War doesn’t have a home yet, but it could land anywhere, from cable to streaming services, so there will be more on that subject to come.

(Via Hollywood Reporter)

On Monday, Nas announced that new music was being released on August 21. In true Nas fashion, there was, and is, mystery as to exactly what’s coming. His “HitBoyOnTheBeats” Instagram caption led most people to conclude that he was set to release a project of some sort with Hit-Boy.

The legendary rhymer had announced earlier this year that he was working on two projects, including one with Hit-Boy. He stirred anticipation with his announcement, but there are also plenty of Nas fans who remember the DJ Premier, Common, and Mobb Deep collab project promises and know not to hold their breath. What’s known is that something is coming in two weeks, and Hit-Boy will be the executive producer. What’s unclear is what the “project,” as the press releases deem it, is an EP or album, or what its name is.

There are two safe bets based on the names involved: Nas will be rhyming well, and he’ll be rhyming over modern, cutting-edge production for the first time in years. He’s lost some of his luster because of Kelis’ abuse allegations, but he’s still in the highest of esteem in many hip-hop circles (which is another story in itself). His diehard fans will be clamoring for whatever he releases, but this particular project is different: it’s a chance to reassert his greatness to a younger hip-hop generation.

To be clear, Nas never needs to release another second of music to be solidified. Please read that twice, if you’re unsure of where this piece is coming from. Nas’ lyrical excellence is as objective as it gets in rap; his most ardent musical criticisms stem from beat selection (not his lyrics), and residual bias from the Jay-Z rivalry. His catalog is undeniable.

But despite his top-tier lyricism, which was still evident on his Lost Tapes 2 project, Nas is increasingly perceived as a classic act among the younger crowd. His greatness is grandfathered into their consciousness through the mere iconography of Illmatic, which he recently said he wanted to stop “celebrating” — perhaps for that reason. There are plenty of young hip-hop heads who adore his music, but there’s also a sizable faction of fans, young and older, who have found his production choices inaccessible over the years. Fellow 40+ lyricists like Jay-Z, Rick Ross, and Pusha T rap over enticing, up-to-date production. The brand of underwhelming production makes it too easy for some fans to simply respect Nas from a distance or only listen to him during certain moods.

Nas doesn’t want that. His stans are as rigid as it gets and will be the first to condemn someone as a scourge to hip-hop for rapping over an 808 drum, but that conservatism isn’t representative of who Nas is. Yes, he made Hip-Hop Is Dead, but the mid-2000s ringtone era was a trying time for diversity, and he’s since distanced himself from that perspective. Nas is a true hip-hop head, but he’s had his moments of seeking mass appeal.

In 1996, Nas linked up with music executive Steve Stoute after Illmatic because he wanted to expand his sound and become more of a mainstream star. He sought radio play with polarizing tracks like “You Owe Me” and “Oochie Wallie.” And today, there are remnants of that same mentality.

He comes from an era of New York rap where one had to have a foothold with the youth to be perceived as “relevant.” He’s sought to maintain that mainstream appeal throughout the 2010s, even as he’s backed away from rap to pursue venture capitalism. He did a freestyle over Future’s “March Madness” in 2016, and a “Rodeo” remix with 20-year-old Lil Nas X earlier this year. When Nore asked him who he was listening to on Drink Champs, he said DaBaby and LIl Baby. In June, he was seen at a Fivio Foreign studio session full of 20-somethings. In short: Nas may be older, but he’s still outside, he’s still tapped into youth culture, and like any great rapper, he wants to hear his new music in the mix in New York City.

While they could easily play some of his classics, he wants to be seen as more than an OG, and working with Hit-Boy is a strong bet to help him on that mission. Hit-Boy, famed for producing modern classics like “N****s In Paris,” “Clique,” and “Backseat Freestyle,” is one of the youngest people to do a Verzuz. He’s a young legend, but he’s also of the now, as indicated by his work on Travis Scott and Drake’s “Sicko Mode,” SOB X RBE tracks, and a slew of Juice WRLD Death Race For Love songs. Hit-Boy is as up for the task of marrying Nas with modern production as anyone.

Nas’ beat selection has always been an Achilles heel. He cleverly opined, “never sold a record for the beat, it’s my verses they purchase” on Nasir’s “Simple Things,” but why not a little bit of both? His most iconic efforts were backed by strong production. Lyrics are vital to his formula, but compelling production should be, too.

In April, Nas told legendary hip-hop figure Ralph McDaniels that he had “fun” recording with Hit-Boy, which should bode well for what to expect. There’s no need to hear that quote and jump to a hyperbolic conclusion that Nas will be channeling his inner Lil Uzi Vert or Fivio Foreign. He doesn’t need to jump on distracting, bassy tracks, or drill beats. But “modern production” doesn’t necessarily mean quaking 808s and synth loops. His work on DJ Khaled’s “Album Done,” where he got busy over a smooth, subcutaneous “Fu-Gee-La” sample, shows what he’s capable of with modern production.

He gave the purists their fix on Lost Tapes 2. Now, he might be looking to feed the streets. Hearing Nas in boastful mode over some fresh, creative Hit-Boy production would be just what many rap fans need to bolster an already strong 2020 music-wise.

After kicking off the rollout for his sophomore album with smooth cuts “Black 2” and “Faces,” Compton rapper Buddy switches it up for his latest single, “Ain’t Sweet” featuring 15 year-old rapper and labelmate Matt Ox. Featuring a jangling, bass-pounding beat and high-energy raps from both Buddy and Matt Ox, the song revives the infectious, rambunctious vibe of some of Buddy’s earliest mischievous bangers like his 2011 debut single “Awesome Awesome” — which he released, incidentally, when he was the same age Ox is now.

Although Buddy hasn’t officially announced his upcoming album, in a recent interview with Document, he does mention, “My album was supposed to be out already. I was supposed to be on tour already. When the pandemic struck, everything got postponed. It was a blessing and a curse because I feel like it gave me more time to properly package up my album to be released with a rollout. I feel like prior to the pandemic everything was kind of rushed, largely because of scheduling. Now I just feel more confident about the music—I just know it is going to last.”

In the meantime, though, he held fans over with the collaborative Janktape, Vol. 1 featuring Los Angeles vocalist and close friend Kent Jamz, following it up with the video for mixtape standout “Bad Boys.”

Listen to Buddy and Matt Ox’s “Ain’t Sweet” above.

Like many whisky styles, there are plenty of misconceptions that newbies have surrounding scotch. The first is that you have to be a well-to-do, older type with a walrus-y grey mustache and gingham suit to enjoy the stuff. This is completely untrue — we’ve highlighted scotches perfectly suited for any palate and income this very week! Another is that Scotch isn’t for women. On top of being misogynistic (and intellectually boring), it’s totally laughable to think that a woman wouldn’t enjoy a high-quality dram. The third scotch myth is that all Scotch taste the same: smoky. This is just silly. Scotch whiskies vary based on ingredients, aging, where they were made and even the water used in the distilling process. Try drinking a glass of Bruichladdich followed by a glass of The Balvenie and try to tell us all scotches taste the same. You’ll be flabbergasted.

The final scotch misconception just might be the most damaging to the industry at large. It’s the willingness on behalf of the drinker to stick to single malts made only by the most well-known brands like Glenlivet, The Macallan, and Glenfiddich. Nonsense. There’s a wide world of brands and bottles that don’t get the same hype that these big names enjoy just waiting to be discovered by you.

Experiment! Riff! Try stuff! Compare!

In that intrepid spirit, I agreed to share my personal list of the “most under-hyped scotches on the market.” Unlike the Ultimate Spirits Challenge, this isn’t a bunch of tasters sequestered in a hotel for days on end. It’s just me, my palate, my personal sense memories, and what connected when I sipped it. Sláinte!

Glen Grant 10

ABV: 40%

Distillery Name: Glen Grant Distillery

Average Price: $50

The Story:

Like many distilleries, Glen Grant was founded in the 1800s. The specific year was 1840, and it was founded by former Aberlour employees, brothers John and James Grant. Its flagship whisky is Glen Grant 10. Matured for 10 years in American ex-bourbon oak casks, this Gold Medal winner at the San Francisco Spirits Competition also earned 95 points in Jim Murray’s Whisky Bible.

This is the kind of bottle everyone should know about it. Yet, they somehow don’t.

Tasting Notes:

Aging for a decade in casks that formerly held bourbon gives this Speyside single malt a rich vanilla template that is complimented by hints of sticky toffee pudding, dried cherries, and subtle autumnal spices.

Why it’s underrated:

Even though it’s won acclaim from the pros, it remains largely ignored by the average drinker.

AnCnoc 12

ABV: 43%

Distillery Name: Knockdhu Distillery

Average Price: $51.99

The Story:

It might be confusing that the whiskies from Knockdhu Distillery are caked AnCnoc. There’s a reason for this, though. The distillery was founded in 1893 and the whiskies carried the the name Knockdhu until 1994 when they were re-branded as AnCnoc to avoid confusion with the nearby Knockando Distillery.

The second name they chose means “the hill” Gaelic.

Tasting Notes:

This award-winning whisky is known for its light, soft, and very mellow flavor. You’ll be treated to indulgent chocolate, cinnamon, sweet vanilla, and sweet vanilla on the palate, with a final flourish of warming Christmas spices.

Why it’s underrated:

Much of the reason this bottle doesn’t get the hype it deserves is the name itself. Drinkers might be confused and turned off by the strange name, thereby dismissing this amazing expression.

Aberlour 12

ABV: 43%

Distillery Name: Aberlour Distillery

Average Price: $42.99

The Story:

Aberlour, founded in 1879, finds itself in the midst of a large number of distilleries (Cardhu, The Macallan, and Glenrothes to name a few) in Aberlour, Strathspey, Scotland. Its flagship bottle is its 12-year-old. It’s the best gateway into the malts from this distillery as it’s soft and smooth from double casks maturation is both American oak as well as seasoned sherry butts.

Tasting Notes:

The result of double aging is a mellow, perfectly balanced whisky with cocoa, vanilla, and sweet honey from the oak that’s complemented by the crisp apple, sweet dried fruits, and caramel from the sherry casks.

It all ends in a warming, velvety, subtly spicy finish that you won’t soon forget.

Why it’s underrated:

Aberlour has been cranking out high level offerings for over a century, but has always played second fiddle to the bigger names of the area.

Jura Seven Wood

ABV: 40%

Distillery Name: Isle of Jura Distillery

Average Price: $79.99

The Story:

While Islay gets all the press when it comes to island-based Scotch whisky. The nearby Isle of Jura and the aptly named Isle of Jura Distillery definitely shouldn’t be forgotten. Sure, you can grab a bottle of one of its aged expressions. But to truly immerse yourself in this island whisky, you have to purchase a bottle of Jura Seven Wood, a whisky blended from whiskies from seven different oak casks (including ex-bourbon American oak, Bertranges, Vosges, Allier, Jupilles, Troncais, and Limousin barrels).

Tasting Notes:

You might think mixing together whiskies from so many different types of barrels would muddle the flavors — but it actually creates a highly nuanced, complex whisky with hints of rich chocolate, subtly bitter espresso, cinnamon, ginger, dried fruits, and just a whiff of subtle smoke.

Why it’s underrated:

Jura’s biggest public relations problem is that it’s located on the wrong island. When people talk about island malts, they always mention the distillers of Islay and even Orkney, but sometimes forget Jura.

Speyburn 10

ABV: 40%

Distillery Name: Speyburn Distillery

Average Price: $36.99

The Story:

The Speyburn Distillery was founded in 1897 and (you guessed it) it’s located in the Speyburn region. How they managed to get the rights to name their distillery after a whole region, we’ll never know. Also, even with this name, the single malts from this distillery are often overlooked in favor of other distilleries.

Hear this now: An award-winning offering like Speyburn 10 shouldn’t be missed. No matter the reason.

Tasting Notes:

This gold medal winner at The San Francisco Spirits Competition gets its water from a tributary from the River Spey called Granty Burn. The folks at Speyburn believe this water is the reason for the high-quality of the juice. We tend to agree, but we only know what we taste and that’s orange zest, roasted, cinnamon sprinkled apples, star anise, and just a hint of smoky herbal flavor.

Why it’s underrated:

Speyburn 10 flies under the radar because of its price. Some people assume the juice inside is lower quality when they see the low price tag.

Craigellachie 13

ABV: 46%

Distillery Name: Craigellachie Distillery

Average Price: $59.99

The Story:

Craigellachie is known as the “bad boy of Speyside” because of its bold, rich, uncompromising offerings. Its flagship bottle is its 13-year-old. One of the various bottles first released in 2014, this non-chill filtered robust whisky is the perfect way to get started with some of the lesser-known Speyside malts while feeling like a rebel in the process. Because while the region is known for its fruity and sometimes floral malts, Craigellachie 13 is anything but.

Tasting Notes:

The original bad boy is robust and complex from aging in both ex-bourbon as well as ex-sherry barrels. The result is a bold whisky with hints of vanilla, rich honey, lingering caramel, dark fudge, and sweet cream that finishes with a subtly spicy kick.

Why it’s underrated: Part of the lack of hype surrounding Craigellachie is the fact that it just joined the market in 2014. Prior to then, the distillery made whiskey for blends almost exclusively.

If there’s anything to say about the Tony Hawk’s Pro Skater 1 And 2 demo, it’s that it knows what most fans want. The montage of skaters, new and old, doing tricks in real life plays while Rage Against The Machine’s “Guerilla Radio” fills your ears. The start menu for the Warehouse demo has Goldfinger’s “Superman.” It’s exactly what fans associate with the Tony Hawk series, and that original music coming back is a huge part of the buzz for the remastered edition of the skateboarding classics.

The first two Tony Hawk’s Pro Skater releases were good video games, but no one needs a port of a game that was first released in 1999. But a lot of the new, and how it works, will have to wait. We’ve seen much better visuals from the other elements of the game’s trailer, but the Warehouse demo — out on Friday for those who pre-ordered the game or bought a burrito — is the first chance we’ve had to see how THPS 1 And 2 will play, and it’s hard not to feel the immediate pull of nostalgia at play here.

The Warehouse is an extremely thin slice when it comes to a demo, which presents two potential avenues of thought. The first is that we’re so close to the release date that this is what the game is going to be, which is a faithful — if not overly nostalgic — recreation of the original games with some updated graphics and capabilities that will delight anyone who has played these levels and heard these songs before. The other possibility is more pessimistic: the rest of the game might not amount to much, and nostalgia is all the title has to offer.

Judging that for sure here is silly, but the most important thing here is that the Warehouse demo feels like a Tony Hawk game. The two original songs included in the demo bring an immediate smile, and the new ones — Billy Talent’s “Afraid of Heights” and “Lose Control” from Tyron Briggs — fit the mood of the game. The entire demo is playing a two-minute skate session with Tony Hawk, so the create-a-park and other customization options will have to wait. But the 900 and his big moves are there, and once your fingers dig up the control scheme from under the sands of time, you start to feel good about what you’re doing here.

Hearing the sound effects for hitting gaps and activating signature moves is a nice reminder that even if it’s a bit different, you’ve definitely played this game before. And it does have some new options to offer in the demo. There’s a subtle rewind effect of sorts that happens when you fall, allowing you to get on your board faster and also remind you that, yes, this is video game skateboarding after all. And while the demo’s features are limited, we do get a glimpse at some of the new tricks and trick mapping changes you can make if you’re feeling like some experimentation.

It’s hard to determine too much off a very limited demo, but the verdict for anyone who loved the first two games is that this appears to deliver on the concept of “remastering” some beloved classics. The game played mostly clean and it just felt good to be back in the Warehouse again. If the rest of the game can match the familiarity and ease the demo had in bringing back those good feelings, get ready to go hunting for a lot of SKATE tapes next month.

One of the first movies to get a “quarantine bump,” so to speak, was Five Feet Apart. The 2019 weepie drama, about two hospital patients with cystic fibrosis who must stay six feet apart to reduce the risk of infection (hence its resurgence), wasn’t very good. But it doing well at the box office last year and on digital this March/April was a good thing, because it exposed more people to the delightful Haley Lu Richardson. You might know her from Split, or The Edge of Seventeen, or Columbus, or Support the Girls, but if you don’t, add them all to your watchlist before her new movie comes out on HBO Max next month.

Directed by Rachel Lee Goldenberg, Unpregnant follows a pregnant teenage girl (Richardon) who travels with her former-best friend (Euphoria‘s Barbie Ferreira) from Missouri to New Mexico to get an abortion. Along the way, they get entangled with the cops over a stolen car, ask Giancarlo Esposito (Gus Fring!) for help, and try to do that thing from movies where you jump onto a moving train. It’s not as easy as it looks.

Here’s the official plot synopsis:

Unpregnant tells the story of seventeen-year-old Veronica, who never thought she’d want to fail a test — that is, until she finds herself staring at a piece of plastic with two solid pink lines. With a promising college-bound future now disappearing before her eyes, Veronica considers a decision she never imagined she’d have to make. This tough and never-taken-lightly decision leads her on a 900-plus mile road trip to New Mexico over three days with her ex-best friend Bailey, where they discover that one of the most important factors in your life is who your friends are.

Unpregnant premieres on September 10 on HBO Max.

Back in January, Rob Lowe went to the NFC Championship Game between the San Francisco 49ers and the Green Bay Packers. He dressed for the occasion by wearing a black hat that had the NFL logo on it, which led to a bunch of people getting a whole lot of jokes off via social media and Lowe making the obvious Chris Traeger joke about the entire thing.

Lowe is a sports fan, and it turns out that another major American league wanted to take out a bit of real estate on top of his head. Lowe appeared on the Talkin’ Baseball podcast alongside his son, Matt, and explained that Major League Baseball used two-day shipping to get him a league hat after the cameo.

“I do!” Lowe said when he was asked about whether he has an MLB hat. “I almost [wore it]. I can go get it. I have an MLB … literally within 48 hours of wearing that hat, the MLB sent me their version of it. I have it in my closet.”

As he mentioned, Lowe was not wearing that hat during his podcast cameo. Instead, he opted to go with a hat that he has worn recently that spoofs the Houston Astros logo by putting an asterisk behind the “H,” in reference to the team’s sign-stealing scandal.

In April, Yves Tumor dropped Heaven To A Tortured Mind, which is one of the most critically acclaimed albums of the year so far (including by Uproxx). Now the experimental artist is continuing to drop terrific work stemming from the album with a new visual for “Strawberry Privilege.”

It’s technically a lyric video, but this one is more than just words on a screen. The clip stars Tumor and Julie Cumming (who sings on the song) and was directed by Jordan Hemingway and Collin Fletcher. As the lyrics flash on the screen, they are accompanied by colorful and distorted videos of the two vocalists, making for a psychedelic experience overall.

The clip also arrives alongside exclusive new Merch that Tumor is selling on their Bandcamp page. Additionally, Tumor is also the subject of a new Highsnobiety feature that published today, for which they were painted by Ssion’s Cody Critcheloe. The paintings were presented with a piece of text written by poet and musician James Massiah.

In July, Tumor shared something called Anonymous Club, the website for which reads, “Anonymous exists to be a machine for inspiration. A machine that brings dreams to life and shapes pop culture. Anonymous is a platform for sound and culture It is a machine for inspiration. […] Anonymous helps artists create their work by helping them occupy their ideal world. We imagine a place where things are possible in order to make them more possible. We promote fantasies to inspire others, we make them real to inspire ourselves. […] Anonymous was created in order to fill an empty space in culture. Anonymous operates instinctually, going where it feels needed and allowing ideas to evolve organically and become what they’re meant to be.”

Watch the “Strawberry Privilege” video above and revisit our review of Heaven To A Tortured Mind here.

Amber Bain has been making music under the moniker The Japanese House since she released her debut EP back in 2015 but it wasn’t until last year that the singer released her acclaimed debut album, Good At Falling. Bain has been working on new music since and is now releasing a new EP along with the focus track “Dionne,” which features Bon Iver’s Justin Vernon.

On the atmospheric track, Bain’s voice croons over soaring synths and a driving beat. “I know it’s not very sexy when somebody loves you this much and knows you this well / But that the way it is,” she sings. Vernon’s voice arrives at the intricately layered chorus with a washed-out vocal track crumbling under crashing snares.

Speaking to Apple Music’s Zane Lowe about how the collaboration came to be, Bain said she was honored by Vernon’s verse because his music has been of great influence to her:

“It’s kind of crazy because I’m obviously a massive, massive fan of his music, I have been since he released that first album. I think there’s certain moments in your career where you have to part of how magic it is, is you have to say to yourself imagine telling yourself that this is going to happen 10 years ago, I wouldn’t be able to believe it. Almost, I can’t wait for my friends from school that he was friends with, we loved Bon Iver to hear this song. It’s just madness. It’s really nice to still have that feeling of being amazed and feel there’s something really special and magical. I guess there are certain things when you’ve been a musician and you can play a big venue and then the next time you play a big venue doesn’t feel the same. But with this, it’s just I still feel like a teenage girl, just like myself.”

Listen to “Dionne” above and find The Japanese House’s Chewing Cotton Wool tracklist below.

1. “Sharing Beds”
2. “Something Has To Change”
3. “Dionne”
4. “Chewing Cotton Wool”

Chewing Cotton Wool is out now via Dirty Hit Records. Get it here.